[vc_row el_class=”intro-copy”][vc_column][vc_single_image image=”45597″ img_size=”full”][heading text=”Our Collection”][vc_column_text]The Lory Student Center Arts Program brings together international, student and Native American artwork for our permanent collection. Paintings, sculptures, sketches and more can be found scattered around the Lory Student Center.

Check out some of the pieces in our collection below![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_tta_accordion][vc_tta_section title=”“Shigeo Fukuda #2“ by Shigeo Fukuda” tab_id=”1586900047148-e9ca477d-f9b7″][heading text=”“Shigeo Fukuda #2“” subtext=”By Shigeo Fukuda”][vc_column_text]

"Shigeo Fukuda #2" by Shigeo Fukuda
“Shigeo Fukuda #2” by Shigeo Fukuda

Shigeo Fukuda is a Japanese Graphic designer and sculptor, who is known for his compelling and activism posters. He was born into a family that was involved in toy making in the 1930’s. Early on in his artist career, he was interested in the principles of Swiss design, and in 1956 he attended Tokyo University of Fine Arts and Music. And was the first Japanese designer to be inducted into the New York Art Directors Club Hall of Fame. Fukuda was interested in Japanese Woodblock traditions, and typical in his work was using minimal graphic designs. His book Visual Illusion, was very well known among American designers, and has connections with optical illusions. He did work with more commercial clients, but in the 1970’s really focused on social and cultural concerns that were happening in society. In Japan, graphic design was often used in marketing and political advocacy posters, there was not really a connection between art and graphic designs. Fukuda, usually used commercial design references in his work, and sometimes was seen as using the designs as using visual puns. He is also a talented sculptor, and designed a sculpture of Mount Fuji made with many different coffee cans, and colorful expressionless mannequins holding coffee cups or coffee sacks. This piece has a beautiful contrast of the black and white colors and the contrast between positive and negative space adds to the aesthetic of this minimalist design. This piece can distort your vision, but still has a clear rendering between gender roles.[/vc_column_text][/vc_tta_section][vc_tta_section title=”“K. H.“ by Thomas Coleman” tab_id=”1591380907970-95a80733-c4a2″][heading text=”“K. H.“” subtext=”By Thomas Coleman”][vc_column_text]

"K.H" by Thomas Coleman
“K.H” by Thomas Coleman

Thomas Coleman was a practicing printmaker, born in 1935. He joined the University of Nebraska art department in 1963 and ran the intaglio area. He added lithography to the program in 1966. He had one-man shows at colleges and museums such as the Minneapolis School of Art, Wichita Art Museum, Amarillo College, Colorado State University and more. After his passing there was a memorial exhibition of his work shown at the Sheldon Memorial Art Gallery in Lincoln, Nebraska. 

He is from the Midwest and his work habits were heavily rooted in Midwestern traditions. His labor was rhythmic and persistent. His imagery was even somewhat midwestern. His often complicated imagery was often derived from humanistic form. He pulled a lot of his inspiration from experience. Many of his subjects were his wife and children. The majority of his work seems to be of serious nature, but he does have the occasional light-hearted humorous pieces, like his print “Study for Sculpture” which is centered around a pizza eating contest, complete with cheerleaders. 

This specific print that we have in collections at the LSC Art Program is titled K.H. It is an intaglio print that is ten inches by thirteen inches. He made this print in 1966 and I’m assuming the LSC Arts Program acquired it after Thomas had his show in the Curfman Gallery. This print is a figure piece, showing a young woman looking somewhat sorrowful and looking into the distance. It could possibly be his wife since it was known he used her often as his subject matter. Then in the background there is a darkened figure who seems to be holding a bouquet of some sort and gazing at the female figure in the foreground. He made an edition of 25 of this specific print. [/vc_column_text][/vc_tta_section][vc_tta_section title=”“Herman Miller Summer Picnic (Ice Cream)“ by Stephen Frykholm” tab_id=”1591380814637-216a8e13-c6cb”][heading text=”“Herman Millser Summer Picnic (Ice Cream)” subtext=”By Stephen Frykholm”][vc_column_text]

"Herman Miller Summer Picnic (Ice Cream)" by Stephen Frykholm
“Herman Miller Summer Picnic (Ice Cream)” by Stephen Frykholm



Herman Miller Summer Picnic (Ice Cream) is a poster created by artist Stephen Frykholm. This poster is a part of a series of posters he created for the Herman Miller Furniture Company annual corporate picnics. The poster is currently not on display and is in the Curfman Gallery Storage. 

Stephen Frykholm was born in Seattle, Washington in 1942. In 1966 he began his career as a graphic designer after having worked in Aba, Nigeria with the Peace Corps at a trade school for girls. In Nigeria he learned how to screen print while he was trying to figure out skills to teach the students. When he returned to the United States he received his MFA from Cranbrook Academy of Art in Bloomfield Hills, Michigan. 

After graduating, Frykholm was hired as the first in-house graphic designer at Herman Miller, Inc. in 1970. He was tasked with designing posters for the company’s annual picnic. Frykholm still works at Herman Miller, Inc. and serves as the Vice President of Creative Design. The picnic posters he has created for the company span over 20 years. Each poster had a limited edition printing of 20. The very first poster he created had a special second edition printing of 500 in 2015. Museums like MOMA and San Francisco Museum of Art have these posters in their collections. His work has also been published in books and periodicals nationally. Many of the original prints are being sold for $2000+. 

Frykholm has been the recipient of many awards, including graphic design and communications awards from the AIGA, the New York Art Directors Club, and American Center for Design, Communication Arts, Graphics, and Print. In 2005 he became an AIGA fellow and received the West Michigan advertising community’s Silver Medal Award in 2009.[/vc_column_text][/vc_tta_section][vc_tta_section title=”“Rainbow in the Mazie“ by Sylvia Edwards” tab_id=”1591380797900-3fff392a-caf3″][heading text=”“Rainbow in the Mazie“” subtext=”By Sylvia Edwards”][vc_column_text]

Rainbows in the Mazie by Sylvia Edwards
Rainbows in the Mazie by Sylvia Edwards



Sylvia Edwards is an abstract watercolor artist. She was born in Boston Massachusetts and studied painting and illustration in Boston at the Museum of Fine Arts School and the Massachusetts College of Art. She married Sadri Golestaneh and moved to Iran for fourteen years before moving to Switzerland and then London.  Her work showcases her close appreciation of Islamic Art as well as has the influences of Klee Rothko Matisse and Milton Avery. Her works of art have been accepted into public collections in the USA, Europe, and Africa, have been reprinted by the million for UNICEF. The imagery within her work has lighthearted and optimistic characteristics that showcase a reflective dimension that gives insight to her environment and her life and has been said to be a longing for truthfulness. The use of color and form shows a celebration of the visible world as well as shows a visionary representation fo figures engaged within their background. Her more abstracted works later on in her career have some element of the human figure that goes with the abstracted geometric elements that are also prevalent that all are very lyrical and flow together. Her later work also had the overarching concept of “undoing the square” which is a metaphor for her longing for freedom.[/vc_column_text][/vc_tta_section][vc_tta_section title=”“I Am Happiness on Earth“ by Alejandro Magallanes” tab_id=”1588092253819-9de286cf-5eb1″][heading text=”“I Am Happiness on Earth“” subtext=”By Alejandro Magallanes”][vc_column_text]

I am Happiness on Earth by Alejandro Magallanes
I am Happiness on Earth poster by Alejandro Magallanes


24 3/8” x 37 1/16”


I Am Happiness on Earth (Yo Soy La Felicidad De Este Mundo) is a poster created by artist Alejandro Magallanes for the film “I Am Happiness on Earth” by Julián Hernández. This poster was bought from the 19th biennial Colorado International Invitational Poster Exhibition (CIIPE) in 2015. Magallanes was also the judge and honor laureate. The poster is currently not on display and is in the Curfman Gallery Storage.

Alejandro Magallanes is an internationally recognized graphic designer, illustrator, poet and artist. He was born in Mexico City in 1971. Magallanes attended the National School of Plastic Arts of the National Autonomous University of Mexico and studied Graphic Design. He has worked as an independent graphic designer since 1994.  Magallanes experiments with poetry, animation/videos in his sculptures, photographs and drawings. His practice specializes in doing books, posters, animations, museography, web design and illustrations for cultural institutions.

Many of Magallanes work has been published in design books, some being Graphic Agitation II (Phaidon), Graphic Design Since 1950 (Thames & Hudson) and All Men Are Brothers (Hesign). Many of these books have been published around the world in China, France, Germany and Spain. In addition he has exhibited his work in Poland, Japan, Hungary, Argentina, China, Holland, Czech Republic, Spain, Canada, Belgium, France, the United States, Venezuela, Slovenia, Russia, Iran, Italy, Croatia and Mexico.

Magallanes has received multiple international awards including second place in the International Poster Biennial 2013 in the United States and first place in the Political Poster Triennale in Monds, Belgium in 2004. He has written 10 childrens books and two books of poetry. Since 2004, he has been a member of the Alliance Graphique International (AGI). 

Magallanes is a founding member of the activist poster groups whose work advocates peace and justice for women and minorities. They include El Cartel del Medellin, La Corriente Electrica and Feura de Registro, who fight for peace and justice for the Zapatistas people of Chiapas and the Women of Juárez.[/vc_column_text][/vc_tta_section][vc_tta_section title=”“Una Oferta“ by Amado Maurilio Peña, Jr.” tab_id=”1588091973641-e8082b69-ae86″][heading text=”“Una Oferta“” subtext=”By Amado Maurilio Peña, Jr.”][vc_column_text]

Poster by Amado Maurilio Peña, Jr.
“Una Oferta” by Amado Maurilio Peña, Jr.


Acquired 1989


Amado Maurilio Peña, Jr. was born in Laredo, Texas in 1943. He studied art and education at Texas A & I (now Texas A & M Kingsville), where he received his Bachelor’s and Master’s Degrees. Amado is a Mestizo of Mexican and Yaqui ancestry. His art celebrates the strength of a people who meet the harsh realities of life in an uncompromising land, and his work is a tribute to the Native Americans who survive by living in harmony with an adversarial, untamed environment. His artwork is inspired by places such as Canyon de Chelly, Spider Rock, Monument Valley, Enchanted Mesa, Acoma, and Black Mesa. These sites are part of an enduring landscape that speaks of the ancient heritage of a region that is now known as Arizona and New Mexico. Amado’s artwork is defined by its bold color and form and dynamic composition. Through his art, he communicates his vision of a land, its people and their art. Amado Peña is recognized as an Artisan of the Pascua Yaqui Tribe of Arizona. This is a particularly high honor and one that he cherishes. He is dedicated to furthering the public’s knowledge and interest in the Tribe, its art, its history, and its culture.[/vc_column_text][/vc_tta_section][vc_tta_section title=”“Many Strong and Beautiful Women“ by Kiki Suarez” tab_id=”1587393183197-b2c19c3c-9159″][heading text=”“Many Strong and Beautiful Women“” subtext=”By Kiki Suarez”][vc_column_text]

Poster by Kiki Suarez
“Many beautiful women” Poster by Kiki Suarez

Kiki Suarez


Kiki Suarez, born Irene Elisabeth Oberstenfeld, grew up in Hamburg Germany where she finished university studying psychology. In 1977 she made a trip to Mexico, in the city of San Cristobal de Las Casas in the state of Chiapas she met her husband Gabriel Suárez and later on had three children. Due to the language barrier and not being able to practice psychology, she turned to painting. Her art is very symbolic in the sense that it evokes narrative topics that range from being autobiographical to intimate universal topics. Her artistic research revolved around exploring different materials and techniques such as copper engraving, weaving, collage, and use of watercolor and acrylic paint. She was heavily inspired by Mexican culture mostly taking inspiration from textiles, architecture and the people. Her art style is prevalent throughout all her work due to the characterized forms she creates, another aspect of her work is how she utilizes text in order to emphasize the meaning of her work that makes it becomes a powerful tool of communication. Her reasoning behind the piece “Many Strong Beautiful Women,” is that she wanted to showcase that the world is full of strong and beautiful women in many colors, shapes and of all ages. As she began to lose her eyesight from a hereditary condition she began an art therapy practice in Chiapas as well as her work morphed to be more settled around an activist form such as dealing with topics of Violence against women, support for people with disabilities, care for the environment, ethical values ​​and the rights of children and adolescents.[/vc_column_text][/vc_tta_section][vc_tta_section title=”“Et Dieu Crea la Femme“ by Jennifer Dickinson” tab_id=”1587392332489-01f0cf02-61ea”][heading text=”“Et Dieu Crea la Femme“” subtext=”By Jennifer Dickinson “][vc_column_text]

"Et Dieu Crea la Femme" by Jennifer Dickinson
“Et Dieu Crea la Femme” by Jennifer Dickinson


Print, color etching and soft-ground etching on steel 

Edition 45/50. 

From ‘La Genese’ series

“Et Dieu Crea La Femme” is a print located in the central hall of Level 200 in the Lory Student Center. This print was made by Jennifer Dickson, an internationally renowned photographic artist. Jennifer Dickson was born in South Africa in 1936 and studied at the Goldsmiths’ College School of Art at the University of London, England. Later, she became an associate of the prestigious graphic workshop, Atelier 17 in Paris until 1965. It was during her time at Atelier 17 that she printed “Et Dieu Crea La Femme,” a work that was a part of her print series “La Genese,” which translates to “Genesis.” This series featured 10 prints derived from the biblical story of Genesis. “Et Dieu Crea La Femme” translates to “and God Created Woman,” and shows a beautiful rendition of this moment of creation through the depiction of a woman’s body in black ink over a background of vibrant red mixed in with areas of warm brown. After this series, Dickson went on to depict imagery of women in two series titled “The Secret Garden” (1976) and “Three Mirrors to Narcissus” (1979) which challenged assumptions about gender and sexual roles in western society. In the 1980s and 90s, Dickson traveled throughout England, France, and Italy and her work became focused on historic gardens, creating a visually stunning series called “The Last Silence” which highlights the beauty and desecration of these deteriorated historical spaces. Much of Dickson’s work provides a complex and contemporary symbolic response to history. “Et Dieu Crea La Femme” is an example of how her work can transform a historical narrative in a way that is reflective, contemporary, and eye catching.[/vc_column_text][/vc_tta_section][vc_tta_section title=”“Bone Marrow“ by Cynthia Hurtubis” tab_id=”1586201182594-347f326d-dcc8″][vc_row_inner][vc_column_inner width=”1/2″][heading text=”Bone Marrow” tag=”h3″ subtext=”by Cynthia Hurtubis”][vc_column_text css=”.vc_custom_1581543775588{padding-right: 20px !important;padding-left: 20px !important;}”]This painting was gifted to the LSC Arts Program in 2011 by Ed & Mimi Hurtubis and Christian Jorgensen. Today, it hangs in the LSC, carrying the story of an accomplished CSU alumna struggling with a debilitating illness.

Cynthia Hurtubis graduated from the CSU Interior Design Program in 1988. However, in 1977 Cynthia was diagnosed with a fatal bone marrow disease, inspiring her artwork. Undoubtedly talented, Cynthia’s work examines the subject of her body and her health. Sadly, Cynthia passed away in 2003 at the age of 37.

Ed & Mimi Hurtubis, her loving parents, approached the Arts Program out of a desire to have one of their beloved daughter’s works present in the LSC.  Tin short, the generous gift was accepted, and now Bone Marrow graces the halls of the LSC, as both memorial to a talented artist and inspiration to CSU students.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”47328″ img_size=”full” alignment=”center”][/vc_column_inner][/vc_row_inner][/vc_tta_section][vc_tta_section title=”“A Universal Picture“ by Shelby Shadwell” tab_id=”1586201182594-a0d5d692-f24d”][vc_row_inner][vc_column_inner width=”1/2″][heading text=” A UNIVERSAL PICTURE” subtext=”By Shelby Shadwell”][vc_column_text]Shadwell made this piece for the opening reception of Divergence of Light on August 23, 2016. Shadwell’s work was featured in this show, in addition to Davanna Wilkins “breathing sculptures.”
The piece featured cockroaches, used diapers, and trash bags, exploring the contrast between light and dark, attraction and repulsion, and representation and abstraction. Shadwell disrupts the hierarchy in art by elevating subjects usually hidden from view.
Additionally, Shadwell is an associate professor of Drawing at the University of Wyoming in Laramie.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”26648″ img_size=”full” alignment=”center”][/vc_column_inner][/vc_row_inner][/vc_tta_section][vc_tta_section title=”“Kochô (The Butterfly)“ by Tsukioka Kogyo” tab_id=”1586201328145-eb4a9e09-62b7″][vc_row_inner][vc_column_inner width=”1/2″][heading text=”Kochô (The Butterfly), 1899″ subtext=”By Tsukioka Kogyo”][vc_column_text]Tsukioka Kogyo was a prominent printmaker in the late nineteenth century. Using the popular Ukiyo-e style of printmaking, Kogyo is notable for the revival of Japanese Noh theatre. Dating from 1899, these prints come from a series of woodcuts he designed from 1897-1926 and provide one of the richest sources of historical and artistic information available for this aristocratic form of drama. 

Ukiyo-e is a popular style of Japanese printmaking from the eighteenth and nineteenth centuries in which the print is created by carving into a woodblock. Certain areas of the woodblock are colored and then pressed into the paper and the process is repeated for each color of the print. Concentrating on the elaborate costumes that Noh theatre was known for, many of Kogyo’s woodcuts display individual printings of silver, gold, and even overlays of mica grounds. Kogyo’s printing technique is exceptionally advanced, and his style is often recognizable because it is very soft, fluid, and appears more similar to a watercolor than a woodcut print.

Noh, a type of Japanese theatre, was popular among aristocrats during the Edo period. After the Meiji Restoration as Japan began to open up to the West, Noh plays became a dying art form. They were revived and preserved in part by the work of Kogyo, whose works became famous for their depictions of Noh theatre. These prints were published in several bound volume sets called the Nôgaku Zue (Series from the Noh Theatre). 

As some of the oldest works in our collection, these prints were for a long time unknown and unattributed to Kogyo. When they originally came into the collection, a set of 12 prints was gifted as part of the original Lory Student Center furnishings. Throughout the years, six of the prints had been stolen or gone missing. It was not until preparation for the renovation of the north end of the Student Center, in an attempt to translate these prints, that the works were reevaluated and attributed to Kogyo. A major discovery for the LSC collection, these prints will make their grand reappearance after the renovation of the Student Center.  [/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”48216″ img_size=”full”][/vc_column_inner][/vc_row_inner][/vc_tta_section][vc_tta_section title=”“Storm at Sea“ by Tony Fowler” tab_id=”1586201442161-1d18d200-be46″][vc_row_inner][vc_column_inner width=”1/2″][heading text=”Storm at the Sea” subtext=”By Tony Fowler”][vc_column_text]One piece that can be found in our collection is one titled Storm at the Sea by artist Tony Fowler. Storm at sea is a digital print that can be found outside the CSU Student Disability Center.

Tony’s work was first shown in the Curfman Gallery in 2017 for the De’VIA show. De’VIA stands for Deaf View/ Image Art. De’VIA artists focus specifically on the Deaf experience. They themselves might be Deaf or they may be hard of hearing or those who are able to hear but have Deaf experiences, e.g. a child of Deaf parents. De’VIA art can be resistive or affirmative. Resistive art focuses on the oppression of the Deaf, and affirmative art focuses on a unique cultural space and the Deaf experience as an intrinsically valuable one.

Tony Fowler is a deaf artist who grew up in Houston, TX and studied at Advanced Visual Art School, Houston Community College, and North Harris County College. He currently lives in Parker, CO.

Tony has been creating art since his elementary eras, working with pencil sketching, collages, watercolor, and oil paintings. In recent years, Tony has been working on both 3D digital modeling and painting along with his 2D work. This is a quote from his biography on his website, “Several of his work is compared to a puzzle whose code needs to be discovered; yet he invites the audience to provide their own interpretation of his art.”

He has focused on digital painting and animation since 2012. His work draws on dreams, symbolism, and the universal unconscious. Much of his work focuses on the supernatural, irrational, and mysterious. By emphasizing the absurd and turning reality upside down he hopes

to wake up viewers from their established perceptions and the fact that they have become accustomed to certain politics, ideologies, and propaganda.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”48268″ img_size=”full”][/vc_column_inner][/vc_row_inner][/vc_tta_section][vc_tta_section title=”“Good Old Paul Wells“ by Wayne Crandell” tab_id=”1586201773520-5ba2fcec-941c”][vc_row_inner][vc_column_inner width=”1/2″][heading text=”Good Old Paul Wells” subtext=”By Wayne Crandell”][vc_column_text]Good Old Paul Wells is an intaglio print by Wayne Crandell. It was acquired by the LSC Arts program on January 1st, 1973. It is now located in the LSC on the 300 floor east hall. This was the first print pulled out of an edition of 25 prints total. The intaglio process being used for this portraiture is the etching process. Intaglio includes etching, engraving, drypoint, and aquatint. Intaglio differs from relief printmaking because the image to be printed is incised into the surface or plate. With relief printing the image is to be raised from the surface. With etching, it is common to use either a zinc or copper plate when creating the image. Etching uses acid to “bite” into the metal surface. Once the plate has been beveled on the edges so that it isn’t sharp, which could cause the paper to rip when printing, a ground is applied to the plate with a brush. Once the ground is dry, after a few hours, then sharp tools are used to scratch into the ground. The areas that are removed will be the areas that accept ink during the printing process. After this, the prepared plate is dropped into the acid bath to allow the acid to “bite” into the plate. Once the plate is removed from the acid, it is cleaned with acetone or paint thinner. Now the plate is ready to be printed. Ink is rolled onto the plate then it is set on a hot plate where the ink can evenly distribute itself into the etched areas. After the inking process is complete, the plate is gently wiped with cheese cloth so that the majority of the ink is where the image has been created. Now the plate is set on the press with a damp piece of rag stock paper over it. The plate is rolled gently and evenly through the press. The paper then can be lifted up to reveal the etched print. It must be hung to dry. Tony has been creating art since his elementary eras, working with pencil sketching, collages, watercolor, and oil paintings. In recent years, Tony has been working on both 3D digital modeling and painting along with his 2D work. This is a quote from his biography on his website, “Several of his work is compared to a puzzle whose code needs to be discovered; yet he invites the audience to provide their own interpretation of his art.” He has focused on digital painting and animation since 2012. His work draws on dreams, symbolism, and the universal unconscious. Much of his work focuses on the supernatural, irrational, and mysterious. By emphasizing the absurd and turning reality upside down he hopes to wake up viewers from their established perceptions and the fact that they have become accustomed to certain politics, ideologies, and propaganda.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”48270″ img_size=”full”][/vc_column_inner][/vc_row_inner][/vc_tta_section][vc_tta_section title=”“Tile“ by Betty Woodman” tab_id=”1586899609296-1d10192d-34fa”][vc_row_inner][vc_column_inner][heading text=”Tile” subtext=”By Betty Woodman”][vc_column_text]

"Tile" by Betty Woodman
“Tile” by Betty Woodman

Betty Woodman is an artist who is well known in the ceramic world, she has won multiple awards, and is known internationally. She was born in Connecticut and attended Alfred University.  In the 1950’s she began her career as a production potter, and she has exhibited in galleries like the Metropolitan Museum of Art. She has taught in the art department at the University of Colorado in Boulder, and is mostly known for her color palette and unique forms that she creates. She is considered a functional potter, and most of her work comes from an array of different cultural backgrounds, and interpretations of art history. 

In the 1970’s she left the functional ceramic path, and started to go into the pattern and decoration movement, working with artists like Joyce Kozloff and Cynthia Carlson. She began creating more colorful and nonfunctional vessels that portray things like the Renaissance or landscapes with clouds. In the years before her death, in 2018, she increased her scale and environmental installations. 

This piece that is shown has lovely hues of greens and blues that are apparent in the underglazes and glazes. She uses such unique surface design that make the piece look more three dimensional when the form could be something that is more in the 2 dimensional category. The bright yellows of the tile accent the darks blues throughout the piece quite nicely. You can see that in the pattern in the tile and how that ties into her work that she discovered in the 1970’s. The tile has a unique form that is common in Woodman work, and also the surface design that is something that has been radically part of her work probably since the 70’s. She has paved the way for ceramic artist and also female potters in the art world. 


Encountering Colorado

The Encountering Colorado installation in the commons brings together works that best represent our great state.

The LSC Arts Program is capturing the culture of Northern Colorado through the work of local artists and bringing it into the Commons in the LSC. In designing this space, the arts program drew inspiration from Northern Colorado culture, maintaining some of Colorado’s most important elements, including a depiction of the Poudre river and important mountain peaks.

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Mick Tresemer

Climbing rope, steel

Climbing rope as a medium for art initially inspired Tresemer due to its variety, functionality and renewability. He deconstructs his preconceptions and re-imagines objects as they are. Tresemer considers the Rocky Mountains a key element of Colorado culture, calling to a diverse group, and therefore establishing unification. Mountuned depicts a stylized acoustic guitar supporting the foothills of a mountain range. Thus, this work embodies Tresemer’s love for Colorado, encompassing what he loves most in life: art and a clean environment.[/vc_column_text][vc_single_image image=”21892″ img_size=”full”][/vc_tta_section][vc_tta_section title=”Section 2″ tab_id=”1591080207288-71b71893-08d7″][vc_column_text]


Scott Kreider

Laminated plywood

Kreider’s work examines an area in Rocky Mountain National Park that is especially important to him. Through the process of laminating plywood and manipulating a computer controlled router, the mountain is re-contextualized as a new and unfamiliar object. Therefore, Kreider asks the viewer to explore a space in a new way.[/vc_column_text][vc_single_image image=”43775″ img_size=”full”][/vc_tta_section][vc_tta_section title=”Section 3″ tab_id=”1591080211404-4dc28792-02cb”][vc_column_text]

Constraining the Wild 

Sonja Allen 

Compressed earth and concrete, river rocks in steel cage

This piece references McMurray Natural Area located along the Cache la Poudre in Fort Collins. Recently, this space underwent intensive ecological restoration after years of gravel mining. Constraining the Wild takes an aerial view using an ancient construction method called Gabion where cages are filled with rock used in riverbank restoration. Moreover, this piece uses river rocks and compressed earth from the Poudre. The lines in the earth represent strata lines, signifying the deep history of McMurray Natural Area and its transformation through human interaction.

Allen focuses on areas of Fort Collins now a domesticated version of what was once wild and are now an interface for appreciating the solace of nature in the confines of society. Allen earned her MFA in sculpture from CSU in May 2018.[/vc_column_text][vc_single_image image=”43781″ img_size=”full”][/vc_tta_section][vc_tta_section title=”Section 4″ tab_id=”1591080214858-6bcb4ca2-d840″][vc_column_text]

Through the Cracks 

Carrie Miller

Silk yarn, brazilwood and madder dyes

Through the Cracks springs from Miller’s documentation of colors and textures at Horsetooth Reservoir and pays homage to the serene and subtle moments of a rugged landscape. Miller utilized a handwoven technique called discontinuous weft to accentuate patterns and slits. Unwoven areas of the textile reveal gold threads and reference the transparency of a curtain and its circumstantial ability to either reveal or hide what is behind it. In addition, Miller intentionally wove this piece to show the signs of wear expected of an older textile.

Miller lives in Longmont, CO and received her MFA in Fibers from CSU. In addition, we would like to thank the Schacht Spindle Company in Boulder, CO for providing the equipment and materials to make this piece possible.[/vc_column_text][vc_single_image image=”43780″ img_size=”full”][/vc_tta_section][vc_tta_section title=”Section 5″ tab_id=”1591080217791-b4d059ae-e5ee”][vc_column_text]

CSU Rides

Chris Gugelman

steel, recycled bicycle

Made from a recycled bicycle from CSU’s Ram Wheels Project, the sculpture honors the Fort Collins bike culture and commitment to sustainable transportation. Ram Wheels operated as a bike rental program in the early 2000s that made bikes available to CSU students. Today, Chris remains a Fort Collins resident and currently works in his family’s foundry, Madd Castings, in Berthoud, CO.[/vc_column_text][vc_single_image image=”47324″ img_size=”full”][/vc_tta_section][/vc_tta_tour][/vc_column][/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1/3″][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”47379″ img_size=”full” onclick=”custom_link” link=””][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]

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